perپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-2121351010.22059/jfava.2016.5965059650Research Paperتبیین گفتمان سوژه و قدرت درتاملات فوکو و آثار تجسمی هالی با تاکید بر مفهوم زندانThe Explanation of Discourse of Subject and Power in Foucault’s Contemplations and Halley’s Visual Works with an Emphasis on the Concept of Prisonمهدی حامدیmehdihamedi_1980@yahoo.com1فاطمه رضویf.rz84@yahoo.com2عضو هیئت علمی گروه نقاشی، دانشکده هنرهای تجسمی، دانشگاه هنر اصفهانکارشناس ارشد نقاشی، دانشکده هنرهای تجسمی، دانشگاه سوره، تهرانرابطه سوژه و قدرت، از محوری­ترین موضوعات در آرای میشل فوکو است. او با بهره­گیری از روش تبارشناسی، در پی آن است تا سوژه مدرن را به مثابه ابژه گفتمان قدرت صورت­بندی کرده، و آن را در پیوند با اَشکالی چون تکنولوژی­های انضباط مورد تامل قرار می­دهد. فوکو معتقد است که نهادهای سلطه سنتی، کارکرد پیشین خود را از دست داده­اند. دیگر نمی­توان قدرت را به فرد یا گروهی خاص فرو کاست و جامعه به زندان بدل گشته است. به باور فوکو، در جامعه زندان­گون مناسبات میان اعضا بر مبنای مراقبت، نظارت و منقاد ساختنِ اعضا استوار است. در دهه 1980 و از بطن تحولات هنری نیمه دوم قرن بیستم، شاهد ظهور پیتر هالی هستیم. عمده آثار او، خوانش­های تجسمی از نوشته­های نظریه­پردازانی چون فوکو است. پژوهش حاضر می­کوشد با تکیه بر روش توصیف و تحلیل، به گفتمان قدرت در تاملات فوکو و چگونگی تحقق اَشکال نظام مراقبت به مثابه زندان اهتمام داشته و نمود آن را در آثار هالی مورد کنکاش قرار دهد. می­توان دریافت هالی با تاسی از فوکو، جلوه­های نظام­های ارتباطی و عاملیت­های سرکوب­گرِ دنیای مدرن و وانموده­های آن را مورد انتقاد قرار می­دهد.The connection between subject and power is the most important matters in Foucault’s contemplation. He wants to configuration the modern subject as a power discourse object by utilize genealogy method and contemplate it in the connection with forms such as discipline technologies. Discipline and punishment organized scheme of renewing the power connections network that is disciplined and extended knowledge varied bodies and interacted by power and reinforced by it. In Foucault view of the matter power is stand on the axis of supervision and disciplined bodies that exerted by strict technical methods in time and place. In the Foucault’s contemplations modern knowledge is measured by the norms standard and its technology acts in the frame of institution like prison, hospital, university and barracks. In his idea these dominance institution lose there previous function. We cannot reduce power to particular group or individual; power is rooted in discourses norms and institutions. In the meantime prison is find discipline function by the base of technics such as supervision. He thinks in the prisonlike society, relations between society members are stand on discipline, supervision and subordination of members. Michel Foucault is one of theoretician and thinker who his theories had effected contemporary intellectual atmosphere. We can say his theories cast a shadow on vast part of art and postmodern thoughts. He pass through the constructivism and invent a new horizon of cultural studies. In 1980s we were faced with Halley’s works have inter texts to French poststructuralist theoretician’s topics. In the meantime rose in the art contemporary area a generation well-known as Neo-Gio that Peter Halley -American artist, critic and theorist, is prominent person. Halley’s works that created in the conscious Postmodernism often are painted with several color field that connect together with narrow right-angled lines. Although his works bear resemblance to Modernist abstract tradition, criticize them with ironic forms. We can find most of his works as visual reads from ideas of theoreticians like Foucault. Now the question is that how the symbolic forms in these works criticizing connective systems and modern world repression agency and its simulations. This article tries to attend the state of discipline system forms realization as prison in modern episteme and search its appearance in Halley’s visual works. This essay explore the role of subject and power as Foucault’s point of view and it’s explanation in Peter Halley’s art works by analytical and descriptive method and based on qualitative method. This study attempt to focus on concept of prison while by this device evaluative this concept in relation with modern subject and its connection with power, monitor and punishment, then analysis it in the Peter Halley’s works as one of the Neo-Geo style artists. His works, allegorically, want to make a postindustrial society simulation like Foucault contemplations that dominate society classification, normalization and discipline technologies. Halley’s art works affected by Foucault’s theories are a narration about canals and prisons which represent diagrams and graphs that shows the architectural body of society and controlling institutes, metaphorically.
https://jfava.ut.ac.ir/article_59650_82864c43debbb6d2cf19d7d2ff0b1c1c.pdfسوژهقدرتزندانفوکوهالیSubjectpowerPrisonFoucaultHalleyperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213112010.22059/jfava.2016.5965159651Research Paperآموزش کل‌گرا رویکردی نوین، همسو با برخی مولفه‌های آموزش سنتی هنر ایرانی اسلامیHolistic Education, a New Approach in Accordance with some Elements of Iranian Islamic Art Traditional Educationندا سیفیn.seifi@tabriziau.ac.ir1حسن بلخاری قهیhasan.bolkhari@gmail.com2مهدی محمدزادهmehdimz22@yahoo.com3دانشجوی دکتری هنر اسلامی، دانشگاه هنر اسلامی تبریزدانشیار دانشکده هنرهای تجسمی، پردیس هنرهاى زیبا، دانشگاه تهراناستادیار دانشکده هنرهای اسلامی، دانشگاه هنر اسلامی تبریزآموزش کل­گرا جریانی بود که در بحث آموزش از اواسط دهه 1980 در آمریکای شمالی ظهور کرد. این جنبش، عکس­العملی در برابر جریان اصلی آموزش در دنیا بود. کل­گرایی در اصل یک پارادایم آموزشی است که تلاش دارد نظریات آموزشی را با فلسفه و معنویات پیوند بزند. آموزه­های این جریان درصدد است در مقابل پیشرفت­های ناشی از مدرنیسم و بحران­های پس از آن از جمله از بین رفتن جوامع سنتی و بی­توجهی به ارزش­های سنتی و معنوی، برخیزد. به مدد این رویکرد، به تدریج، همه دریافتند که مفهوم و جایگاه "کل" در کشاکش مفاهیم متناقض، دارای اهمیت است. با مطالعه عمیق­تر این رویکرد و اصول آن، مشخص می­شود که مولفه­ها و شاخصه­های این رویکرد آموزشی، سنخیت قابل­توجهی با برخی ویژگی­های آموزش سنتی هنرها در ایران دارند. در این گفتار، پس از معرفی و تحلیل رویکرد کل­گرا و مولفه­های آن، با نگاهی نو به آموزش سنتی هنر در ایران نظری افکنده شده و قرابت نظریات رویکرد آموزشی کل­گرا با روند آموزش هنر سنتی ایرانی مورد سنجش قرار می­گیرد که نهایتاً می­تواند نشانگر همسویی برخی اصول این دو حوزه باشد. این تحقیق از نوع کیفی و شامل جمع­آوری اطلاعات از طریق مطالعه کتب، اسناد و مقالات است. Holistic Educational Approach was an educational movement which appeared in the domain of education in the mid- 1980s in North America. In fact it was a result of mental and cultural anxiety during the 60th and 70th centuries and was a reaction to the educational mainstream of the world. Holistic Educational Approach is essentially an educational paradigm that tries to join educational theories with philosophy and spirituality and its instructions aim to oppose against modern improvements and the subsequent crisis such as losing traditional societies and ignoring traditional and spiritual values. Gradually, this led to a situation in which people realized that they had to look at the “wholes” to see the details, and found out that within a paradoxical context, “wholes” were of a great importance. Holistic Educational Approach holds a holistic viewpoint and also a spiritual tendency. In the modern society the ways of learning things get more detailed day by day. Meanwhile education is trapped in some competitive and unbalanced approaches and methods and reductionism has ignored the multi-dimensional aspects of life. The main purpose of Holistic education is to feed the innate abilities of people. So, Holistic Educational Approach succeeded in attracting the teachers and parents who used to criticize imposed and limited educational techniques. The main purpose of Holistic education is to feed the innate abilities of people. In this context, everyone is a capable and unique person who is creative by nature. His skills and needs including physical, mental and spiritual ones are distinctive. Education should try to highlight the individual’s inner self and world. It trains the entire body of an individual with his diverse aspects. Having flexible and holistic points of view, this educational approach is able to deal with different domains. Iranian Islamic art principles also include many detailed points which need close attention. It has always had its special and unique ways of educational ways and manners. A deep study of this approach and its basis shows that the elements and features of this educational approach are very similar to some features and even basis of Iranian traditional art education. Focusing on the main factors of these two domains shows that there are many common factors between these two domains. Such factors are self-transformation, ultimacy, spirituality, experiential learning, uniqueness, love, reverence for life, apprenticeship, interdisciplinary points of view, reasoning, mutual trust, etc. Here in this article, Holistic educational approach is thoroughly introduced and analyzed; its most important elements are explained and then, Iranian traditional art education is studied through a new viewpoint. It seems that Holistic Educational Approach can be considered as a spiritual yet modern approach which may accord with the principles of traditional art education in Iran. Finally, finding harmony and agreements of opinions in Holistic Education Approach and Iranian Islamic art education might prove that Holistic educational approach is somehow in accordance with some of the Iranian Islamic art education principles. This is a qualitative study and the data is collected through books, documents and articles.https://jfava.ut.ac.ir/article_59651_177086fcc61baaff9ad14d370db6c2b5.pdfآموزش هنررویکرد آموزشی کل‌گرانظام سنتی آموزش هنرمولفه‌هاArt EducationHolistic Education ApproachTraditional Art Education SystemComponentsperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213213010.22059/jfava.2016.5965259652Research Paperنمود "بدن‌گروتسک" در نقاشی‌های محمد سیاه قلم بر مبنای اندیشه میخائیل‌باختینStudy of "Grotesque Body" in Muhammad Siyah Qalem’s Painting on the Basis of Bakhtin's Thoughtشراره افتخاری‌یکتاsheriyekta11@yahoo.com1امیر نصریamir.nasri@yahoo.com2کارشناس ارشد نقاشی، دانشگاه هنر تهراناستادیار گروه فلسفه، دانشگاه علامه‌طباطبایی، تهراناکثر پژوهش‌های انجام‌گرفته با موضوع سیاه‌قلم، باتوجه به‌ هویت و زمینه‌ فرهنگی آثار محمد سیاه­قلم شکل گرفته‌اند. نقاش مشهور اما ناشناس نیمه‌دوم سده نهم‌هجری که بیشترین حجم آثار او در مرقع‌های کتابخانه توپقاپوی‌ استانبول نگهداری می‌شود. این نوشتار، فارغ از دغدغه هویت و بافت فرهنگی‌ آثار سیاه‌قلم، از اشکال و فرم‌های‌کارناوالی میخائیل‌باختین یاری‌جسته و منحصراً با نگاهی عمیق و تازه به جهان‌گروتسکی سیاه‌قلم پرداخته ‌است. ‌باختین، فیلسوف و نظریه‌پرداز بزرگ سده‌بیستم است و مفاهیم و ایده‌هایی همچون گفتگو، دیگری، کارناوال و.. را در نظریات خود اعمال‌کرده ‌است. ایده‌های او تقریباً دودهه است که به‌عرصه هنرهای ‌تجسمی راه‌یافته و ساختار مناسبی را در حوزه نقد این آثار برای هنرپژوهان بناکرده‌ است. باتوجه به‌ این‌که نگاه ویژه ‌باختین درخصوص کارناوال و "بدن‌گروتسک" می‌تواند رویکرد مناسبی برای تحلیل دنیای‌گروتسکی سیاه‌قلم باشد، این پژوهش، عناصری از پیکره‌های سیاه‌قلم را که بر روی عملکردهای بدن‌گروتسکی باختین تمرکز دارند با روش تحلیلی ‌ــ‌ تطبیقی تصویرکرده ‌است. بدن موردنظر باختین، بدنی است که منحصر به‌فرد و منفک از باقی جهان نیست، بدنی‌است بی‌شکل و رها شده که پی‌درپی با مرگ و زندگی همراه است. پیکره‌های سیاه‌قلم این قابلیت را دارند که به‌واسطه این ویژگی‌ها، با این بدن در هم آمیخته و رها شده تعبیر و تفسیر شوند.The most of the research have done on the subject of Muhammad Siyah qalem, shaped with respect to identity and cultural background of his paintings and works. Muhammad Siyah qalem is a famous painter but anonymous of the second half of the ninth century that, his life and identity is still shrouded in mystery and it is almost the equivalent of a century that has been made context for numerous researches studies. The most of his works has been held in library’s albums from Istanbul Topkapi Palace and, also a few of them have been kept in the freer gallery in Washington and the Metropolitan in New York. His famous is by creation of the demons, humans and shamans, and this article has been helped without concern for identity and cultural context of Muhammad Siyah qalem’s work from the shapes and forms Mikhail Bakhtin’s carnival, and has particularly been investigated Muhammad Siyah qalem’s grotesque world by looking deep and new. And in line with this object, elaborates elements of Muhammad Siyah qalem’s painting that are defined and equality by functions of Mikhail Bakhtin’s grotesque body. Mikhail Bakhtin is a great philosopher and theorist in 20th century that has imposed on his opinions concepts and ideas such as "dialogue" or "dialogism", "the other","polylossia", "polyphonic", "carnival" and etc. His theories almost is two decades that has extended in the visual arts and has built a suitable structure in criticism of these works for art researchers. As respects Mikhail Bakhtin’s specific point of view about carnival and "grotesque body"could be an appropriate approach to analyzing and discussing the grotesque world of Muhammad Siyah qalem. Also Bakhtin’s thought completely distinguishes interpretations before him about "the other", novel, language and its potential forces and brings up in his book Rabelais and His World, concepts of carnival and grotesque realism, and displays in that a function of the body that emphasizes on the relations between the layer and material of the body and the world and reconstruction in the act of becoming, growth, birth and death. This research has been interpreted elements of Muhammad Siyah qalem’s figures by an adaptive and analysis approach that are focused on the functions of Mikhail Bakhtin’s grotesque body. According to Mikhail Bakhtin’s thought, grotesque body is not unique or inimitable and separate from the rest of the world. That is an amorphous and abandoned, unbound body. And everything that happens in its inside, successive associates with life and death and it has never absolute end, also another is that creates another shaper of both the power (power shaping for the another one), a body that doesn’t have an independent and individuality so he/she isn’t separate and a only single body,that was exceeded from the limits of its physical form and joined to the world and the objects and the other bodies. Muhammad Siyah qalem’s figures have the potential by these features, for interpretation and description with this combined and unbound body.https://jfava.ut.ac.ir/article_59652_6e768cec9afdbaba1ee0aedda158b918.pdfمحمد سیاه قلممیخاییل‌باختینبدن‌گروتسکگفتگوکارناوالMuhammad Siyah qalemMikhail BakhtinGrotesque BodyCarnivalDialogueperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213314010.22059/jfava.2016.5965359653Research Paperپیکرک های گلی انسانی نو یافته استان هرمزگان، حوزه فرهنگی بلوچستان، جنوب شرق ایرانThe new founds of human terracotta from Hormozgan Province
Cultural Zone of Baluchistan, Southeast Iranمرتضی حصاریmhessari@aui.ac.ir1دانشگاه هنر اصفهانمجموعه پیکرک های مورد مطالعه در این پژوهش مبتنی بر یک پیکرک از یافته های کاوش فصل سوم تم مارون و 4 پیکرک موجود در مخزن موزه بندر عباس که از بشاگرد(محلی بشگرد)، شهرستان جاسک، شمال شرقی استان هرمزگان در جنوب شرق ایران است، می باشد. این مجموعه نو یافته در نوع خود جدید و تا کنون از ایران چنین نمونه هایی که معرف فرهنگ بلوچستان است، گزارش نشده است. پیکرک های مورد مطالعه نشان از ساخت آثار حجمی گلی آرایش شده انسانی است که از نظر ویژگی های بصری و زیبا شناسی می توان کارکرد آیینی- اجتماعی برای آنها پیشنهاد نمود. در این پژوهش با طرح پرسش های مختلف برآن است گسترش و ریشه احتمالی فرهنگ بلوچستان و سند به ویژه هنر پیکرک سازی را در حوزه فرهنگی جنوب شرق ایران به ویژه در استان هرمزگان مشخص نماید. از اینرو مهمترین اهداف این پژوهش شناخت ریشه جایگاه هنر پیکره سازی ، کاربرد، مقایسه و گسترش آن در حوره فرهنگی بلوچستان است. مهمترین پرسش این پژوهش چگونگی شناخت هنرپیکرک سازی و گسترش این هنر در حوزه فرهنگی بلوچستان و فرهنگ و تمدن سند، ;کاربرد و تاریخ گذاری براساس این مجموعه چیست؟. در این پژوهش با روش تحقیق توصیفی-تحلیلی مجموعه مورد بررسی قرار می گردد .In every part of ancient Iran, human terracotta figurines are an integral part of the local culture. They play an important part in ancient Iranian religious practices, and there are many examples of figurines being offered to deities. In addition to their ubiquity, they have a very ancient history. The first figurines ever found in this part of the world are from the first occupation of the several sites, dated to 9000 B.C. In a collection as diverse as this, typology is an important part of the study. The 5 figurines represent a period of 5,000 years and come from 2 specific sites, and an location within Hormozgan provinces. They need to be divided into groups and are typically based on shape, decoration. The typology for this paper is based on common characteristics and similarity with published figurines. In comparative analogy, two objects are compared and conclusions about one are drawn based on similarities with the other. The human terracotta in the collection were found at Tolle Maroun site, from third Excavations session , and four figurines Ethnographical Bandar Abbas Museum’s collection, Southeast Iran. This paper will study and analyze a collection of new human terracotta in the Bandar Abbas Museum. The human terracotta are an integral part of the local culture. They play an important role of ancient Baluchistan religious practices. This detailed introduction to the human terracotta figurines that form this collection consists of some parts. The first part consists of a review of literature. The second part of this paper defines the typology of the thesis collection and detailed introduction to the human terracotta figurines that form this collection The third and final part provides a detailed description of various aspects of the figurines, including height, sex, completion and leg division. The typology for this paper is based on common characteristics and similarity with published figurines. The mains Questions in this research are, What is the function of these figurines? What is the meaning of these figurines? What is their chronology? This purpose of this research is to review the literature on Baluchistan Culture human figurines, and to analyze and interpret this new collection of figurines that has not so far been published. The research of methodology based, analysis includes a description of the characteristics of the figurines, and interpretations of their functions and meanings. 4 of 5of the figurines in the research collection are identical to figurines from the Indus Valley Civilization, Baluchistan culture. The idea of the Mother Goddess is widespread and entrenched, and therefore must be acknowledged. What were the figurines of the thesis collection used for and what did they mean to their users? It is possible they had religious functions and meanings The discussion of religious figurines contains descriptions of figurines embedded in a lengthy account of the Mother Goddess religion. ; and the concept of the Mother Goddess is very widespread, appearing in Europe, the Near East and South Asia.https://jfava.ut.ac.ir/article_59653_9adee427acbaf8c803259ce09a3e019b.pdfپیکرک انسانی گلیآرایش پیکرکهزاره سوم ق. ماستان هرمزگانhuman terracottafriseur of terracottathird Mill. B.CHormozgan Provinceperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213415210.22059/jfava.2016.5965459654Research Paperتزیینات وابسته به معماری امام‌زاده‌های شهرستان دماوند استان تهران. نمونه موردی: امام‌زاده شمس‌الدین محمد (ع) دماوندArchitectural decorations Holy shrine city of Damavand ,Tehran province.
(Case Study: Emamzadeh Shamseddin Mohammad (PBUH), Damavandعطیه یوزباشیatiehyouzbashi@yahoo.com1سید نظام الدین امامی فرn_emamifar@yahoo.com2دانشگاه شاهددانشگاه شاهدتزیینات به کار رفته در امام‌زاده‌ها یکی از بارزترین جلوه‌های فرهنگ اسلامی و نمایشگر گویای فضای معنوی است. روش انجام تحقیق بر مبنای ماهیت توصیفی تحلیلی بوده است و شیوه گردآوری اطلاعات به صورت ترکیبی (کتابخانه‌ای و میدانی) مورد استفاده قرار گرفته است. جامعه آماری که در این پژوهش مورد استفاده قرار گرفته است، 39 امام‌زاده حوزه عملکرد اداره اوقاف و امور خیریه شهرستان دماوند استان تهران است. روش نمونه‌گیری به شکل غیرتصادفی (انتخابی) و تعداد نمونه کلیه تزیینات امام‌زاده شمس‌الدین محمد (ع) است و روش تجزیه و تحلیل اطلاعات نیز کیفی و کمی است. در این پژوهش ابتدا مطالب پایه در خصوص بناهای مذهبی و انواع تزیینات در ایران و رشته‌های صنایع دستی پرداخته شده است سپس تزیینات وابسته به معماری امام‌زاده‌های شهرستان دماوند دسته‌بندی شد (7 دسته) و کلیه تزیینات هریک از امام‌زاده‌ها در جدولی آورده شده است و به عنوان نمونه تزیینات امام‌زاده شمس‌الدین محمد (ع) بررسی گردید. این امام‌زاده در جایگاه دوم تنوع تزیینات بعد از امام‌زاده هاشم (ع) قرار دارد. دستاوردهای مقاله نشان می‌دهد که تزیینات وابسته به معماری امام‌زاده‌ها ضمن ارائه زیبایی‌های کالبدی تجلی نگرش‌های مذهبی و آیینی تشیع بوده و زیبایی‌های کالبدی و فراکالبدی منجر به قداست مکان معماری در نزد مردم مسلمان منطقه در ادوار تاریخی تا عصر حاضر شده است.Abstract: The used ornaments in Holy shrines is considered as one of the clearest manifestations of Islamic culture and represents the spiritual space. The research method has been conducted based on descriptive- analytical nature and data gathering method has been utilized in terms of synthetic(Library and field). The statistical population which has been applied in this research, is consisted of 39 Holy shrines in the scope of Endowment and Charity affairs city of Damavand in Tehran province. The sampling method is based on the form of non-random(Optional) and the sample number is related to all decorations(Ornaments) of Emamzadeh Shamseddin Mohammad (PBUH) and the data analysis method is in terms of qualitative and quantitative . This research at first has been paid the basics of religious buildings and variety of ornaments and other handicrafts fields in Iran and then the decorations related to architecture of Holy shrines city of Damavand were categorized (7 categories) and all decorations each one of Holy shrines are shown in a table and was investigated as the decorations sample of Emamzadeh Shamseddin Mohammad (PBUH).This Holy shrine is located in second place after the decorations diversity of Emamzadeh Hashem (AS). The paper achievements show that the decorations related to architecture of Holy shrines in addition to the physical beauty was represented of the manifestation of religious attitudes and Shia ritual and physical beauty and meta-physical beauty leads to the architecture sacred place by the region Muslim people in historical periods until the present time. این قسمت اضافه گردیده ولی در چکیده فارسی نگارش نشده است. Crafts order of priority fields of architectural Holy shrine city of Damavand is as follows: 1) Metal Handicraft 38%, 2) Iranian traditional architecture% 14, 3) The craft mad 13%, 4) Wooden Handicraft % 13, 5) Fine craft 11%)Handicraft architectural 7%), 7) Pottery 4%. Apart from historical and architectural ornaments Shrine values, religious values are Especially inscriptions with Islamic tradition. Relationship and direct link between appearance and reality Holy shrine in Damavand city. The architect to create a sense of unity in a variety of architectural and decorative elements, trying to maintain calm and spiritual atmosphere in Holy shrines in Damavand .Muslim architects shrine, in outer space with decorations in the upper part of the monument, the Rok Dome audience to understand. And since the ascension into heaven, the Rok Dome is quite evident. The move also entails a sense of calling. According to studies carried out on the hanging Holy shrines Overview Damavand city following results were obtained: Exterior and interior decorations Holy shrines Damavand city is divided into two categories, one related decorations and other decorations materials related to the fields of crafts. Related to architectural decoration materials in various forms Damavand Holy shrine exterior masonry, tiling, brickwork and stone masonry and brickwork stucco decorations is the most prominent. Decorations crafts related to the fields of Damavand Holy shrines exterior architectural tiling, wood and metal mesh. Related to architectural decoration materials in various forms Damavand Holy shrines Inside, stone mosaic, tile, plaster stucco decorations is the most prominent.https://jfava.ut.ac.ir/article_59654_547db2557bd416691032d0652aef7495.pdfتزییناترشته‌های صنایع دستیمعماریامام‌زادهشهرستان دماوندامام‌زاده شمس‌الدین محمد (ع)Keywords DecorationsHandicrafts coursesarchitectureHoly shrineDamavand cityEmamzadeh Shamseddin Mohammad (PBUH)perپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213536410.22059/jfava.2016.5965559655Research Paperمعرفی و بررسی خمسه ای مصور از دوره ترکمانان متعلق به موزه هنر های اسلامی کوالالامپورIllustrated Khamsa of nizami, from Turkman school, in the Possession of the Islamic Art Museum of Kuala Lumpur1.حمیدرضا روحانی راوریh.rohani@aui.ac.ir1آزاده سخاوتazade.sakhavat@yahoo.com2مدیر گروه کارشناسی و کارشناسی ارشد نقاشی و عضو هیئت علمی دانشگاه هنر اصفهانفارغ التحصیل کارشناسی ارشد نقاشی دانشگاه هنر اصفهانخمسه سرایی و خمسه نگاری از سنت‌های دیرپای ادب و هنر فارسی است، چنانچه می‌توان از آن بعد از شاهنامه نگاری به عنوان پراقبال ترین کتاب مورد توجه هنرمندان و حامیان نام برد. یک نسخه از خمسه مصور به تاریخ 904 ه.ق، زمان فرمانروایی ترکمانان بر ایران اکنون متعلق به مجموعه نسخ محفوظ در موزه هنر های اسلامی کوالالامپور، مالزی به شماره 5/25/2012 است؛ که تاکنون بررسی نشده است . این نسخه دارای 68 تک نگاره و 5 نگاره دو برگی، به قلم نستعلیق، است و از کاتب، نگارگران و حامی آن اطلاعاتی در دسترس نیست . در این پژوهش سعی بر آن شده است تا وجوه متشخص فرمی این نسخه بررسی و به عنوان سند مکتوبی از نقاشی دوره ترکمان معرفی شود. این پژوهش با دسترسی و مطالعه مستقیم نسخه و نیز استفاده از منابع و اسناد مکتوب به روش توصیفی / تحلیلی انجام شده است. بر اساس نتایج حاصل از این پژوهش، خمسه مورد نظر محتملا نسخه‌ای درباری است و علیرغم تنوع موضوعی نگاره ها به جز چند مورد تفاوت چشمگیری در کیفیت نگاره‌ها و جود ندارد؛ هیکل‌های جسیم و محدود انسانی در کنار پیکره های متعدد حیوانی و وفاداری به متن منظوم از ویژگی‌های بارز آن است.In Persian literature and Persian painting, versifying and illustrating Khamsa were common for centuries. After ferdowsi's “Shahname”, khamsa of Nizami is known to be the most popular poetry book in Persian literature. The Khamsa (Quintet) is a collection of five narrative poems called:“Makhzan Al-Asrar”, “khusraw and shirin”, “layla and Majnun”, “Haft peykar” and “Iskandar nama” composed by Nizami Ganjavi in 6th century.Khamsa Nizami dated 904 A.H. Accession No. 2012.25.5 keeps in “Islamic Art Museum of Kuala Lumpur, Malaysia”. This manuscript has sixty eight miniatures and five further double-page miniatures at the start of each book, followed by an illuminated heading with title in white tawqi' script in a gold-ground cartouche, binding with punched and gilt-stamped decoration consisting of chinoiserie cloud bands and interlacing vegetation, with doublures of cut-leather filigreework on blue and gold ground cartouches and cornerpieces,The text is written in a small and neat nasta'liq hand within four columns,typical of the period, whilst the doublures also display an intricate interlace of cut-leather filigree.And headings in gold tawqi. There is no evidence about the calligrapher, painter(s) and patron. One of the seals on the opening leaf is that of “Abd al-Rashid Daylami” (1670),the nasta’liq calligrapher who was lived about a hundred years after manuscript had made, so he could sealed the book as the owner or as the Royal Librarian manager in Mughal court of Shah Jahan.The place of origin is not noted too, but most probably it must be done in Shiraz. This manuscript has been illustrated in Turkman style, which was common in second half of ninth and beginning of tenth century in east, middle and south of Iran. Turkman painting came to fruition under the Qara - Qoyunlu and Aq - Qoyunlu rulers.There are some common features in Turkman school which are presented in Khamsa Nizami 904 A.H. too: Figures are of medium-large size, and mostly their limbs well coordinated; they are squat and sturdy with rather large heads and full round faces.The depictions of architecture are rather simple with little indication of depth. There are two method of rendering the ground (i) in a pale color with simple rocky horizon and stylized grass and plants, and (ii) in green, covered with large bushy masses of vegetation often picked out with yellow or a lighter green, and with no rocky horizon. expanse of lush, floriferous greenery or green on green.Dynamic compositions combined with vibrate colours. Except from some cases there is not much significant differences ‌‌‌‌‌‌in manuscripts quality.Bulky bodies and stylizism are significant characteristics of this manuscript.This study attempted to provide a better understanding of Persian Painting in Turkmanan dynasty through studying Khamsa 904 A .H. and introducing this book as a document in Turkman style.The research method is descriptive-explanatory and in data collecting beside, the library method and online data bases, corpus study have been also used. Based on achieved results from the reaserch, Khamsa 904 A .H. probably is a royal manuscript.https://jfava.ut.ac.ir/article_59655_83431cd1bb44e2079ea8493fdd535086.pdfنقاشی ایرانیحکومت ترکمانانمکتب ترکمانخمسه نظامیPersian paintingTurkman DynastyTheTurkman styleKhamsa Nizamiperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213657410.22059/jfava.2016.5965759657Research Paperعکس: چالش دلالت عینی و مفهوم ضمنیPhotograph: Challenge between Explicit And Implicit meaningمحمد خدادادی مترجم زادهmkh.motarjemzadeh@art.ac.ir1دانشگاه هنربر اساس یافته های موجود می توان مفاهیم و دلالت های عینی و ضمنی را در باره ی عموم عکس ها به کار گرفت. این جُستار در تلاش است چگونگی ساخت و کارکردهای متفاوت این دلالت را در برخی از نمونه‌ عکس‌های معروف و تعداد کمی عکس معمولی تحلیل کند. در این پژوهش، نگارنده با تعیین متغیرهای مؤثر، طرح دیدگاه‌های مهم در این زمینه، تحلیل فرمی عکس‌های نمونه و تجمیع آن‌ها در فرایند استقرایی نشان می دهد که آن‌چه را در عکاسی دلالت ضمنی می‌نامیم می‌تواند ارجح‌تر، مهم‌تر، برانگیزاننده‌تر و اثرگذارتر از آن‌چیزی باشد که دلالت عینی(صریح) پنداشته می‌شود. فرضیه‌ی اصلی این مقاله این است که دلالت ضمنی حاصل کارکرد متغیرهایی چون نیت عکاس، تجمیع عناصر تصویری در عکس، باور فرهنگی و اعتقاد بیننده، جهت‌دهی فرهنگی- سیاسی توسط رسانه‌های قدرت‌مند و توضیح صریح و روشن‌گر همراه عکس می‌باشد. او در آخر به این نتیجه می‌رسد که در سال های اخیر با توجه به متغیرهای گوناگون تولید و بسترهای متنوع مصرف(ارائه) عکس، تفکیک و تمایز دلالت صریح و ضمنی بر اساس تعاریف دیروز- لااقل- در حوزه عکاسی، سودمند نیست؛ و با توجه به متغیرهای فعال در بسترهای تولید و مصرف عکس، می‌توان استفاده از عناوین: ‘دلالت اصلی’ و ‘دلالت فرعی’ و یا ‘دلالت قوی’ و ‘دلالت ضعیف’ را پیشنهاد می کند.Abstract: Fortunately in recent years in IRAN, Semiotics arguments in Literature and Art study are noticed by researchers. In according to, The Denotation and Connotation functions in photography are updated and expanded. Thus, necessary bases for continuing this argument are available. Although Denotation and Connotation are belong to Semiotics Area, But in Photography, specially Critique of photograph so very useful. In overall view, it seems photograph with similarity Specificity with it`s subject, thus connotation isn`t important. The Document specificity in the most of photographs has approach to denotation meanings. But many researches in this area, like Pierre Guiraud, Daniel Chandler, Louis Hjelmslov, specificity Roland Barthes show this subject(connotation meaning) is very important. Maybe most of others, Barthes argued about meaning and reading the photographs, Also more of others applied these titles. Really The Connotation of many subjects and events is more important than Denotation, Even in Documentary photography area. This research tries to reveal not only ability of Connotation but reveal function of Connotation with analysis several Questions in various kinds of photographs specially for Critique of Photograph. To achieving this purpose, author selected several famous photographs and few ordinary photograph. Then according to hypothesis and the famous Ideas of several theorists in this area, he write text in two whole parts with titles: ‘Review basic definitions’, and ‘Emergence qualities of photograph Connotation’. Also he set the important arguments in detail parts with titles (challenges): The connotation is of photograph be result of photographer attempt. The connotation could be result of title or statement role of photograph. The connotation could be result of gathering the still visual elements in the photograph. The connotation could be only cultural reading or reflections of viewers by ignore photographer`s aim and desire. The connotation could be result of politic- cultural managers` functions. The Denotation in compare with Connotation is illusion. Author wants to show that function in many causes is more provocative, important and influence than Denotation. In this way, He is questioning Connotation that formed by Changeable elements like: Photographer`s aim, Composition of the picture elements, the Viewer`s behavior and belief, The Political- Cultural direction with mass media power in different societies, and direct (explicit) explain about photo. Author try to analysis his founded data in ‘Indication method’ and try to show the different function and influence of connotation (as changeable element) are in various areas. Although major specificity of photograph is resemblance with it`s subject, But in different situation meanings of the photograph are different. And important point, This challenge and argument about it more and more noticed after 1980s, even about older photographs or older movements in photography genres. At last, Author concludes, Definition between Connotation and Denotation is not necessarily, and not useful today. In present time, borders of text and out of the text (as physic and metaphysic) of photograph seem to be ambiguous. Thus, He Suggests to Applying new titles for this argument, Like: ‘Major Significance’ and ‘Minor Significance’ or ‘Powerful and Weak’ Significances are better than old Meanings.https://jfava.ut.ac.ir/article_59657_8a5a307931ece44adaba787a0443a527.pdfعکسمعنادلالت ضمنیدلالت عینیعنوانphotographMeaningconnotationdenotationtitleperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213758610.22059/jfava.2016.5965959659Research Paperتایپ‌نگاری در عنوان‌بندی فیلمTypography in Film Title Sequence Designرزیتا صفری صدیقsafarisedigh.rozita@gmail.com1سودابه صالحیs.salehi@art.ac.ir2مدرس گروه ارتباط تصویرى، دانشکده‌ی معماری و هنر، دانشگاه گیلان، رشتاستادیار گروه ارتباط تصویرى، دانشکده‌ی هنرهاى تجسمى، دانشگاه هنرعنوان‌بندی فیلم، مرکز توجه اولیه‌ی مخاطب است که در کنارِ القای مفاهیم خاص مرتبط با محتوای فیلم، عنوان و عوامل سازنده‌ی فیلم را با استفاده از تایپ‌نگاری معرفی می‌کند. به دلیل اهمیت تایپ‌نگاری در طراحی عنوان‌بندی فیلم، یکی از چالش‌های مهم در فیلم‌های ایرانی نیز از ابتدا، نحوه‌ی به‌کارگیری حروف فارسی و هم‌آهنگ‌سازی آنها با رسانه‌های نوری بوده‌ است. هدف از پژوهش حاضر، بررسی میزان و نحوه‌ی حضور انواع تایپ‌فیس‌های رایجِ فارسی و شیوه‌ی بیان محتوای پیام به‌ واسطه‌ی حروف در عنوان‌بندی فیلم‌ها از ابتدای تاریخ سینمای ایران تا کنون، به منظور دست‌یابی به نکاتی جهت انتخاب آگاهانه‌ی تایپ‌فیس‌های فارسی مناسب در رسانه‌های نوری و استفاده‌ی صحیح از قابلیت‌ها و توان‌مندی‌های آنها در حوزه‌ی این رسانه، بوده است. جامعه‌ی هدف در این تحقیق تمامی عنوان‌بندی‌های فیلم‌های ایرانی بوده و 80 نمونه‌‌ی این پژوهش به روش هدف‌مند انتخاب شده‌اند. ابزار تحقیق، چک‌لیست محقق­ساخته‌ای بوده که پایایی و روایی صوری آن به وسیله‌ی بازآزمون و نظر صاحب‌نظران تامین ‌گردیده است. روش تولید داده در این پژوهش مشاهده‌ی نیمه منظم بوده و داده‌ها با روش‌های شبه‌آماری تحلیل شده‌اند. نتایج تحقیق به روشنی نشان می‌دهد که بسیاری از تایپ‌نگاری‌ها در عنوان‌بندی فیلم‌های ایرانی بدون توجه کافی نسبت به رسانه و خصوصیات آن می‌باشند. A title sequence is the beginning and the audience’s first center of attention to the film, in which the film’s title, key production and cast and crew along with some special notions related to the film’s content are introduced through typography. A film title sequence may include live action, animation, music, still images and graphics. With the invention of the cinematograph, in order to identify the film and its production company and also to signal the beginning and the end of the film to viewer, simple title cards were used to begin and end silent film presentations. Although such title cards evolved to become more elaborate film title sequences over time, typography has always been the significant part of them. Due to the importance of typography in title sequence design, the method of utilizing and applying the Farsi font and coordinating them with screen media has been one of the most important challenges in this field in Iran from the start. The purpose of this research is to study the effective factors in forming a title sequence suited to the field of graphic design, and to provide access to a series of notes for making informed choices of Farsi typefaces that are appropriate for screen media and the correct usage of their abilities and capacities in those media. In this research, the extent and the method of the usage of the different types of prevalent Farsi typefaces, and the method of phrasing the message’s content through font in Iranian film title sequences are explored in over 80 Iranian films from the start of Iran’s cinema until today. Data analysis in this research has quasi-statistical style. Target population is all Iranian film title sequences, among which the research samples are chosen purposefully. Research tool is a checklist designed by the researcher. The reliability and validity of the checklist are examined through test-retest method and specialists’ evaluations. Each part of checklist is designed in order to obtain the research answers and to collect the necessary information. The method of gathering information was the semi-structured observation. The statistics show that the most frequent typeface used in the research samples was Zar. Zar is the oldest Farsi font and therefore it is quite reasonable that it is seen in the most early film title sequences in Iran. It seems that analyzing Zar can lead to better understand the capacities of the font for its more suitable usage on screen and digital media. Furthermore, the examination of the 80 Iranian film title sequences reveals that the most frequent typefaces used in these title sequences were static and fixed. The reason can be related to the date of the research samples’ productions. Certainly, in order to reveal the relation between the date of films productions and technological limitations of the time, these two variations must be examined in subsequent researches. Overall, the research result clearly shows that most of typographies in Iranian film title sequences are without paying adequate attention to the media and its characteristicshttps://jfava.ut.ac.ir/article_59659_9bf0a2c782f0d8af0e78231a18d3654a.pdfتایپ‌نگاریتایپ‌نگاریِ فارسیطراحی عنوان‌بندی فیلمرسانه‌های نوریTypographyFarsi TypographyFilm Title Sequence DesignOptical Mediaperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-21213879410.22059/jfava.2016.5966059660Research Paperتأثیر انتخاب مواد بر دریافت‌های احساسی کاربران از محصولاتThe Influence of Material Selection in Emotional Attributes of Product Designنرگس ادبیn.adabi@tabriziau.ac.ir1عضو هیئت علمی گروه طراحی صنعتی، دانشگاه هنر اسلامی تبریزانتخاب بهترین گزینه برای تولید، از میان مجموعه‌ی وسیعی از موادی که هر روز بر تنوع و تعدد آنها افزوده می‌شود، فرایندی بسیار دشوار، طولانی و گران است که آن را به یکی از چالش‌های اساسی طراحان و مهندسان تبدیل نموده است. معیارهای مختلفی در این تصمیم‌گیری دخالت دارند که عمده آنها عبارتند از: توجه به خواسته‌های عملکردی و فنی طرح، قابلیت تولید آسان، ارزان و تطابق با نیازهای زیبایی شناختی و احساسی طرح. روش‌های متنوعی برای انتخاب مواد از دیدگاه فنی و عملکردی وجود دارند. اما برای خلق ویژگی‌های زیبایی شناختی و احساسی مشترک در محصولات مختلف، طراحان با مشکلات زیادی روبرو هستند که شناسایی ابعاد احساسی مواد و نحوه تاثیر آنها بر ویژگی‌های احساسی محصولات را به یک ضرورت تبدیل می‌نماید. در این مقاله با نظر‌سنجی از کاربران در مورد جنس یک گلدان خانگی با 24ماده‌ی متفاوت، تاثیرات احساسی مواد بر ظاهر محصول مورد آزمون قرار گرفته است. در مرحله‌ی بعدی، صفاتی که معانی مشابهی داشتند با هم دسته‌بندی شده و درصد فراوانی آنها محاسبه شد در نهایت نتایج این‌گونه نشان داد که علی‌رغم ضعف کاربران در توصیف احساسی محصول، در برخی موارد دسترسی به یک الفبای مشترک در بیان احساسات توسط مواد، دور از انتظار نخواهد بود.Selecting material is one of the most important phases in product design and manufacturing process of any physical product. Choosing the optimal possibility for production among vast variety of materials that are being developed in diversity and number is a very difficult, lengthy and expensive process which makes it one of the major challenges of engineers and designers. Approximately always more than one material is suitable for a designed part of a product, and the ﬁnal selection may contain some advantages as well as disadvantages. Different purposes and criteria are involved in this decision making, the main ones are: Will the chosen material meet the performance needs? Will it be easy and feasible to process in designed shape? Will it satisfy aesthetics and emotional requirements? In the field of technical and engineering aspects of a product design, reaching to an optimal selection is more formulated and possible through many logical and effective methods purposed by researchers and scientists but visual and emotional design of a product is much more complicated and less formulated which depends on many aspects such as cultural, social, psychological and behavioral studies of users. Users make sense of things through visual stimulus and get information. Objects can have meaning, carry associations, or be symbols of more abstract ideas. And design is not a meaningless exercise in styling and it is not an isolated exploration of technology. How can a design be shaped to influence the emotions of the customer in the right way? Product designers seek to blend the technical with the aesthetic, in order to enable new experiences and inspire and create positive impact in society and in our own daily lives. They use materials to create all these. Technical designers have ready access to information of the sort they need, handbooks, selection software, advisory services from material suppliers, and to analysis and optimization codes for safe, economical design. Industrial designers express frustration, both in print and in interviews, that they do not have equivalent support. This paper seeks to address the following questions: 1) Can a material be said to have perceived attributes or indisputable associations? 2) Is there any way to examine the emotional impact of material in a product? In this research, by examining different methods and theories in the field of material selection, it has been tried to identify emotional aspects of materials through a case study. The test is consisted of questionnaire and survey from users, about the emotional impact of various materials in a specific product. Respondents were asked to talk about their emotional perceptions through the 24 materials of a flower vase. The rather high diversity of gathered words and attributes showed that attendants were not so much comfortable in using word to express their emotions about products. In the next stage the attributes which had similar meanings classified together and the frequency of them were calculated. The final result shows that in some cases reaching to a common emotional alphabet expressed by different materials is not unattainable.
https://jfava.ut.ac.ir/article_59660_fccbb14fa76555e17585f2fff5ae5698.pdfانتخاب موادویژگی‌های احساسی موادمحتوای احساسی محصولطراحی ظاهری محصولMaterial SelectionEmotional Attributes of MaterialsEmotional Content of ProductVisual Design of the Productperپردیس هنرهای زیبا دانشگاه تهراننشریه هنرهای زیبا- هنرهای تجسمی2228-60392538-51782016-11-212139510610.22059/jfava.2016.5966259662Research Paperجنبش مینگی و معیارهای زیبایی آن، در سفال ژاپنThe Japanese Mingei Movement and its Criterion of Beauty, On Japanese Ceramicsصمد سامانیانsamanian_s@yahoo.com1سید‌سعید سید‌احمدی زاویه2نگار کفیلیnegar_kafili@yahoo.com3دانشیار دانشگاه هنر، تهراندانشیارگروه پژوهش هنر، دانشگاه هنر، تهراندکتری پژوهش هنر، دانشگاه هنر، تهرانمینگی جنبش پیشه­های هنرمندانی است که به ساخت اشیاء معمولی(دست­ساز- بومی) می­پردازند. این جنبش توسط یاناگی سوئتسو و همکارانش، در فواصل سال­های 1920-1930، جهت حفظ آثار دستی در جریان مدرنیزاسیون ژاپن پایه­گذاری شد. جنبش مینگی، درهنر- صنعت سفال و سرامیک در دنیا بسیار شناخته شده است، اما در ایران، ناشناخته مانده است. این مقاله ضمن شرح جنبش مینگی و نحوه­ی شکل­گیری آن، درصدد است معیارهای زیبایی آن را معرفی، و ضمن تحلیل سرامیک­های مینگی، به ریشه­یابی دلایل پیدایش آنها ­بپردازد. این پژوهش از روش توصیفی-تحلیلی جهت تحلیل مطالب بهره برده است و گردآوری اطلاعات به شیوه کتابخانه­ای صورت پذیرفته است. نتایج حاصل از پژوهش نشان می­دهد که، سفالینه­های مینگی از زیبایی­های ناب برخوردارند و به «نیروی سنت جمعی» تکیه دارد. قدرتی که برمبنای اعتقادات بومی، مذهبی و ملی­گرایانه­ای چون شینتوئیزم، تائوئیزم و بودیسم استوار است. پیشه­ور ناشناس نیز نه آگاهانه، بلکه با کمک طبیعت و سنت، فارغ از هرگونه ادعا و با نهایت خلوص، با مواد طبیعی و با هدف کاربرد، به تولید آثاری ناب و زیبا و در عین حال ارزان و فراوان دست می­یازد. فهم این نوع زیبایی، مستلزم درک فلسفه­ی زیبایی­شناسی جنبش مینگی است. جنبشی که در دوره­ی می­جی هم­زمان با تحولات بنیادی در عرصه­های مختلف، زمینه­ساز حفظ فرهنگ اصیل ژاپنی و معرفی آن به دنیا شد.
Mingei Japanese folk craft movement involved in making (folk - handi) crafts by unknown craftman. Although these crafts are prepared for ordinary people in large quantities and cheap prices, possess the purest beauty and privileged specifically. The Japanese movement had its ideological antecedent’s in the larger arts and craft movement at the end of the 19th and early 20th century, so it was global in scope. This movement is founded by Yanagi Soetsu and his attendants. After the mid- 19th century, when Japan was forced to establish more open trade relations with the west, the conceptual separation of art from craft was introduced. During this period of Japanese history, the Meiji Restoration government undertook a policy of rapid industrialization and westernization. Industrialization resulted in the mechanized mass production of formerly hand-made objects and artisans were finding it very difficult to survive in the changing economy. Yanagi soaked up these ideas and after visiting Korea and returning to notice the quick disappearance of traditional crafts in quickly modernizing Tokyo, he launched the movement in 1926 to protect the Japanese handicrafts from the new modernization from 1920-1930. According to Yanagi, utilitarian objects made by the common people are “beyond beauty and ugliness”. In recent decades,scholars such as Yuko Kikuchi and Brian Moeran have uncovered power relations and ultra-nationalism that lie at the core of the formation of Mingei theory. In 1927, Yanagi put forward the “criterion of beauty in Japan. Those scholars argue that Mingei theory, far from being an oriental theory, is a “hybridization” and “appropriation” of occidental ideas such as that of William Morris, which Bernard Leach introduced during his stay in Japan in 1909. The movement developed nationwide campaign for the revival of folk crafts and nourished a cultural ethnic nationalism in new modern Japan. Although the Mingei movement is well known in ceramic art and its educational system in the world, unfortunately as a result of leakage adequate references and researches, it’s not familiar in Iran, so this article is based on describing the Mingei movement and its origins, then explains the criterion of beauty and analyzes the aesthetic aspects of Japanese Mingei ceramics for understanding the existence background. This article uses the library techniques and analyzing the descriptions and study the Japanese folk ceramics under the Mingei Criterion of Beauty. In this way, the conclusions yield, were: the Mingei ceramics possess the purest beauty, for they are supported by tradition power, which based on the native, religious and nationalist beliefs, like Shintoism, Taoism and Buddhism. The unknown craftsman makes his work unawareness, selflessness and honestly, with the nature and divine power and uses natural materials under the functional intention, which results inexpensiveness and plurality. Although Mingei ceramics has simplicity and irregularity in form and design, they have intimacy that provides kind of beauty which surpasses any other kinds and understanding them, needs realizing the aesthetics of Mingei movement. The movement which developed nationwide campaign for the revival of folk crafts and nourished a cultural ethnic nationalism in new modern Japan during Meiji period.https://jfava.ut.ac.ir/article_59662_713b4bb5b6a93d4b57659037b6449965.pdfهنر بومی ژاپنمینگیسفال ژاپنیاناگی سوئتسومعیارهای سنتی زیبایی ژاپنJapanese folk ArtsMingeiJapanese CeramicsYanagi SoetsuCriterion of Beauty